WIRE Collection:http://hdl.handle.net/2436/8716
Mon, 28 Nov 2016 15:15:29 GMT2016-11-28T15:15:29ZExperimentation and Post-Heritage in Contemporary TV Drama: Parade’s Endhttp://hdl.handle.net/2436/620114
Title: Experimentation and Post-Heritage in Contemporary TV Drama: Parade’s End
Authors: HOCKENHULL, STELLA
Abstract: At the beginning of Episode Three of Tom Stoppard’s adaptation of Ford Madox Ford’s 1920s’ tetralogy, Parade’s End (White 2012), the central character, Christopher Tietjens (Benedict Cumberbatch) lies in hospital wounded, suffering flashbacks to his First World War experiences in the trenches. The sequence commences with an extreme close-up of his bloodied face, before a dissolve introduces a kaleidoscopic and bleached image of his beautiful wife, Sylvia (Rebecca Hall). This shot is immediately followed by that of Tietjens’s lover, Valentine Wannop (Adelaide Clemens), before returning to the more realistic and gruesome events at the hospital. The story chronicles the life of Christopher Tietjens, a wealthy landowner and man of principles, and his promiscuous socialite wife, Sylvia. Tietjens has joined up to fight, but the events which occur in the war form only one layer of the complex plot and backdrop to the love triangle with suffragette, Valentine. The flashback and the optical effect of the kaleidoscope is a repeated motif in the serial, and director, Susanna White, introduces a variety of experimental, surreal and perplexing images throughout this fast moving drama.Wed, 01 Jan 2014 00:00:00 GMThttp://hdl.handle.net/2436/6201142014-01-01T00:00:00ZPeas, Parsnips and Patriotism: Images of the Garden in films of the Second World Warhttp://hdl.handle.net/2436/620092
Title: Peas, Parsnips and Patriotism: Images of the Garden in films of the Second World War
Authors: HOCKENHULL, STELLA
Abstract: This book examines the ways in which the house appears in films and the modes by which it moves beyond being merely a backdrop for action. Specifically, it explores the ways that domestic spaces carry inherent connotations that filmmakers exploit to enhance meanings and pleasures within film. Rather than simply examining the representation of the house as national symbol, auteur trait, or in terms of genre, contributors study various rooms in the domestic sphere from an assortment of time periods and from a diversity of national cinemas—from interior spaces in ancient Rome to the Chinese kitchen, from the animated house to the metaphor of the armchair in film noir.Fri, 01 Jan 2016 00:00:00 GMThttp://hdl.handle.net/2436/6200922016-01-01T00:00:00Z